Vaibhav Gupta - Architecture Portfolio 2021

V A I B H A V

2017-2021 | VOL 1

PORT FOLIO

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| Architectural Student and Designer

0 9 / 1 2 / 1 9 9 8, JAIPUR, RAJ.

VAIBHAV GUPTA

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80/421, Patel Marg, Mansarovar, jaipur Rajasthan, India 302020

2017 India International School, Jaipur AISSCE SCORED 92%

October 2019 ZNDC Trophy, NASA (Zonal Trophy) Trophy Head

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2017-Present Sushant School of Art and Architecture

December 2020 The Master Studio, ARCHMELLO Competitons (International Competiton) Honourable Mention

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SKILLS

Hence, analysis of emotional as well as socio-cultural needs of a particular user group is an important aspect of my design process. Where poetry is said to be the sound of heart, I find it to be perfect medium that expresses the emotive energy of people and holds the power to provoke larger human population not only through words but also through spaces.

Poetry provide sensual and emotional substructure to spaces that provides an order to mind, body and soul of user groups.

Such poetic approach to architecture gives narrative to my design process, enhancing the focus on societal and nature-related challenges. Christopher Charles Benninger rightly said – “We can formulate ideas and concepts and nurture attitudes and ‘constructs’, but without welling up of emotions these are merely dull academia. Truth dwells in emotions of the heart. That is where poetry in architecture originates from”

January 2021 Accelerate The City, BUBBLE FUTURES Platform (International Competiton) Top 16 Enteries

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I believe that it is only through emotions, through subjective twists in things, through the poetry of life and through the love of people that profundity in architecture emerges.

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Rhinoceros 3D with grasshopper

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Revit

February 2021 The Tiny House Competition, VOLZERO Competitions (International Competiton) Selected in Top 50 Enteries

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SketchUp

PROFESSIONAL

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These positive provocations orchestrate life’s delicate, beautiful chaos. They are always in rigid connection with humans mind and soul which always play a key role in the creation of people-friendly designs. I find such counter-provocations in my designs that allow the spaces to challenge the psychological and physiological needs of a human experiencing that space.

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Photoshop

January 2019 Green Lagoon Restaurant Under Er. Sanjay Gupta (Completed)

Indesign

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To me, Architecture, Art and Music are all positive provocations that deflates negative provocations like media, politics, and economics present within our sphere of energy. Provocative design hereby, makes a socio-cultural statement. It tries to answer the sociocultural challenges of society by identifying its need and its want.

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October 2019 D15 Trophy, NASA (Zonal Trophy) First Place

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Provocations do not have a central definition. It is a subjective property of each individual defined by their cultural and traditional backgrounds, which also makes it temporal in nature. Such temporal nature of provocations, we live by, affects a person’s perspective towards what is good or bad, rich or poor, detailed or incomplete, yin or yang.

Design Process

2015 India International School, Jaipur AISSE SCORED 9.8 CGPA

Quantity TakeOff Lightroom Microsoft Office Word, Powerpoint, Excel

EXPERIENCE

June 2019 Fashion Designer - Versha Sethi's Boutique Jaipur, Rajasthan (Not-built due to financial reasons)

OTHER SKILLS

January 2020 Jeweller Ratnesh Nema's Residential Project Narsinghpur (Madhya Pradesh), India (To be built in May 2021)

Sketching

LANGUAGES

Hand Rendering

Hindi

Native

Physical Models

English

Fluent

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We live in a world with constant multiple mental and physical forces affecting our daily behaviours and actions. We live by such provocations (positive and negative) that indirectly or directly become a part of how we shape our inner soul and outer reality. Yet, we are in a constant urge to find one such positive provocative energy in our lives where our inner forces are resolved.

But what are these provocations?

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EDUCATION

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C O N T E N T S S. NO.

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PROJECT NAME

PAGE NO.

TESSERACT Micro Housing Project Competition Entry

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PANCHBHUJ Hayana Centric Kala Kendra | Democratic Semester 5

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TAT TVAM ASI Hybrid High-rise Structure | Temporal Semester 6 & Competition

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KHOJ [PASSING BY] Community for Architecture Students and Professionals Competition Entry

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DOAB Housing Project Semester 7

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PEOPLE

FIRST

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TESSERACT. A PROTOTYPICAL Typlogy Site Location Site Area Semester Studio Partners

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MICRO HOUSING

Micro Housing Unit Not Specified 25 sq. m Semester 8 Architecture Competition Siddharth Bagga

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TINY HOUSE COMPETIITON 2

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Tesseract is the Fourth Dimension. Its all about time, and so is architecture. Architecture flows like a stream in meadows and swirls and banks freely, but with time it erodes the soil around it and shapes the Earth to reveal new forms.

These forms are ever changing - ever evolving.

The tesseract is a physical manifestation of the ever changing nature of the Architecture and the evolution of the users with it.

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The structure follows a support - infill mechanism, where the support is the framed structure of the tesseract, that expands itself to meet the requirements of the user, and also to improve the quality of life the user experiences.

Progression from two different functions to overlapping bodies.

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Fig. Four frustum of pyramids that form T E S S E R A C T Overlapping of Basic functions - eat, live, rest, clean - to enhance the living conditions and spatial requirements of the users

CLEAN

EAT

EAT

LIVE

REST

LIVE

REST

CLEAN

WET AREAS

Finding common interfaces to reduce the spatial volume requirement for a particular function

DINING

ENTERT.

DRESSING

Fig. Trajectory of 1/4th T E S S E R A C T

Fig. M E T A B O L I C NATURE OF MICRO HOUSING

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The growth of the tesseract starts with a 9.375 sqm living accommodation that features basic human life processes - EAT, LIVE, REST, CLEAN. These are the basic requirements that a living being and we as humans require.

As time passes, we expect both, the number of people residing to increaseand their requirements to enhance. As the requirements enhance, the basic living processes aslo start to develop into new functions. These functions are the results of the overlap of the basic living conditions with one another - eat and live give dining; live and rest give entertainment; rest and maintian give dressing and lastly; clean and eat gives hygiene.

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Expandable Interface

Plans

P I V O T WALLS

Mobility

Flushed Hinges

Pivot Wall C Pivot Wall D

PLAN CLOSED

Telescopic Beam

Pivot Wall A Cooking 90 deg.

Openable

Cooking

Shelves provoding extra storage space

Counter

Pivot Wall B Washbasin 90 deg.

These intermediate functions that develop over time are accommodated by the use of Pivot walls that economically spread its arm revealing the function they are supposed to cater. The frame of the tesseract opens up in all the four sides to accommodate these pivot walls. The opening of all the pivot walls, mark the final state of the tesseract with 25 sq. m living accommodation

Pivot Wall A

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Pivot Wall B

Pivot Wall E

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PLAN OPEN

Pivot Wall C

Pivot Wall D

Pivot Wall A

Pivot Wall C Dining 180 deg.

Pivot Wall E Dressing 90 deg.

Hidden Bed Below Floor

Pivot Wall D Entertainment 90 deg.

Tv Set and Shelves

Openable Working Area

Dressing Table

Openable Working Area

Openable Dining Table

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Ladder

Magnetic Strip to give clean close to the folding structure

Pivot Wall B

Pivot Wall E

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mobile ......

A tesseract is a mobile assembly that can be transported to any part of the world with the help of trolley trucks irrespective of whether it is an urban centre or a city space.

foldable ......

All solid walls and floor are foldable allowing easy manageability to the user to create connections between indoor and outdoor as per his/her requirement

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Sections

W or k i n g o f E x p a n s i o n a n d C o n t r a c t i o n

of Tesseract

AFRICAN BLACK WOOD

Vertical foldable panels are made in African Blackwood that provides a deep contrast with the immediate context

TELESCOPIC BEAMS

CONNECTION GAPS

CONNECTION/EXPANSION CAPS FOR COLUMN BEAM ASSEMBLY (ALL DRY)

RED HYDRAULIC PISTON

The Movable corner joints of the inner cube which help the movement of beam to happen are marked in red CONNECTION GAPS

S E C T I O N B B' CLOSED

S E C T I O N B B' OPEN

ETFE STRETCHABLE PANELS

Span between Tesseract frame taking the shape of the structure as it expands and contracts

WHITE PIVOT WALLS

The movable pivot walls are marked with white to denote their flexibility

HYDRAULIC PISTON

CUSTOMIZED HYDRAULIC AXIAL PISTONCONTROLLING DIAGNOL TELESCOPIC BEAMS

S E C T I O N A A' CLOSED

S E C T I O N A A' OPEN

SWIVEL JOINT

CUSTOMIZED CONNECTORS FOR 360 DEGREE FREE MOVEMENT

TELESCOPIC BEAM

THREE PART BEAM ASSEMBLY FREE TO MOVE – SUPPORTED BY TENSION SPRINGS

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PANCH BHUJ.

A HARYANA CENTRIC KALA KENDRA Typology Site Location Site Area Semester Studio Partners

Institutional Aravalli Hills, Gurugram, Haryana ( India ) 4.5 Acres Semester 5 Architectural Design -

30 m wide road in front

Project

Narrative

Program

Narrative

Contoured site @ Aravallis SITE AS

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DEMOCRATIC SPACE

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Enhances dignity of people

Spirit of social equality

A C O N S T I T U E N T O F A R A V A L L I S

THE FIVE MAGICAL WORDS

THE FIVE B'S THAT DEFINE ANY CITY'S CULTURE AND TRADITION

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A local culture comprises of five fundamental elements, which are Bhesh, Bhasha, Bhojan, Bhooshan and Bhajan. The Bazaar, acts as a cocoon to these elements, protecting and presenting these five elements.

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Gives the citizens, right to perform and the right to lie.

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Affirmative of the public sphere.

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For all individuals and accessible to all.

EQUALITY

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Power to generate the feeling of being united

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Where people hold the power to exercise their function

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DIVERSITY

In giving a definition of the simple kinds of government know through the world, I have occasion to describe what I meant by a democracy and I think it, that the government in which the people retain the power, and exercise it either collectively or by representation

The vision I see is not only a movement of direct democracy, of self and codetermination and non-violence, but a movement in which politics means the power to love and the power to feel united on the spaceship Earth

JAMES WILSON Associate Justice of the United States Supreme Court

PETRA KELLY German Green ecofeminist activist

politician

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Freedom has many difficulties and democracy is not perfect, but we have never had to put up a wall to keep our people in JOHN F. KENNEDY 35th president of the United States

Provide multi-dimensional contact that can lead to civic engagement.

RESEARCH BASED PROGRAM EXTRACTION

D E F I N I G

D E M O C R A T I C

S P A C E S

Here, our program revolves around these five elements of ’s culture, trying to touch upon every edge of its culture.

BHESH

BHASHA

BHAJAN

BHOJAN

BHOOSHAN

Commercial shops selling traditional Haryana dresses and jewelleries.

Library for haryanvi poets, writers and novelists, literary galas, comedy shows(as haryanvi poetry has humour in it).

Music And Dance classes in Kala Academy, as well as periodical music and dance shows in amphitheatres.

Local Vendor Shops who cook and sell ocal haryanvi food.

Stadiums, hostels for villagers, tribute to national wrestlers.

Currently, there are no major institutions teaching Haryanvi, no major adulations to Haryanvi poets, playwrights, or writers.

Music and dance has been the soul of Haryana. It is indeed unfortunate that folk dances such as the Ghumar, Jhumar, Gugga, Dhap, Chaupaiya, Phag, Loor and Dhamal are almost unheard of outside the state.

If we talk about Haryana's cuisine, it evokes simplicity, which seems to be neglected in Haryana. How many outside the state would have heard of Methi Gajar or Kachri ki Sabzi?

The people of Haryana especially Jats are more inclined to sports like Kabbadi and kushti. There is tradition of Akhadas and it has given various national and international level wrestlers.

No place where you can sit and try out Bajra Aloo Roti with desi Makhan and Teet ka Achar or a Bajre ki Khichri and Hara Dhania Cholia.

In these times Kushti and Kabaddi are sole source of entertainment in villages on occasions like Holi and Fagun

Dresses

Men - Dhoti, shirt, turban and a pair of shoes.

Woman's - Ghaggri (a long skirt), shirt and a printed orhni which has long cloth used to drape the front area of her body.

Have a lot of affinity for ornaments which are usually made of gold and silver.

Dialects

It is imperative that Haryanvi be accorded the importance that it deserves in its own state. Young men and women desiring to study the language should be provided with the necessary opportunities.

Dances and Songs

Such vivid and colourful art forms can be highlights of tourism in Haryana

Diets

Ornamental Quality

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Block

Planning + Circulation Idea

Form Exploration and Narrative

PLACEMENT OF PROGRAMS ON DEFINITE GRID OF 5M X 5M ACCORDING TO PHASE III AND IV

PLACEMENT OF PROGRAMS AS PER THE CIRCULATION IDEAS RELATED TO DEMOCRATIC SPACES

Placement of following programs on SECOND FLOOR

Free Roam | Provocations

DELAUNAY TRIANGULATION AS REPRESENTATION OF SURFACES IN 3 DIMENSIONS.

“Where do I start”

G E O G R A P H I C SURFACES THROUGH DEALUNAY'S THEORY OF C O M P U T A T I O N A L T R I A N G U L A T I O N

LIBRARY KALA ACADEMY PERMANENT AND TEMPERORY GALLERY SEMI OPEN WORKSHOPS SEMI OPEN WORKSHOPS/KALA ACADEMY

Why can't a structure represent the sensation of what its built upon?

LOCAL VENDORS

Placement of following programs on FIRST FLOOR KALA ACADEMY

FORM EXPLORATION Rhinoceros 3D software

PERMANENT AND TEMPERORY GALLERY SEMI OPEN WORKSHOPS

Can a structure represent the emotions of what it is built upon? The structure, built on the beautiful ranges of Aravallis, protrudes up from the ground representing the same.

The edginess and triangulation that creates the ranges of Aravalli are respresented in the structure through triangulation and tesselation, to make the built tructure, not a fragment on it, but a constituent of it.

The sculptural existence of the structure creates here visual connection with the people walking by the streets, further creating curiosity and excitement among the visitors.

UC Berkeley architecture professor Donlyn Lyndon explains in one of his essays that, ”‘Place,’ refers to spaces that can be remembered, that we can imagine, hold in the mind, and consider. This structure and its spaces enables the space to contain memories, and the installation of memories turns that structure into a place.

LOCAL VENDORS

Placement of following programs on GROUND CONTOURS RECEPTION ATRIUM STADIUM HOSTELS TRIBUTE TO HARYANA ATHLETES

A LOCAL VENDORS

COMMERCIAL SHOPS

PLACEMENT OF 5M X 5M GRID ON SITE

B C A FREE CIRCULATION NAVIGATOR

When a person enterS central atrium, he can look upon every single space of the Kala Kendra. The provocations here lead the people to certain paths which creates a sensory circulation of spaces.

The viewer becomes aware of himself and of his movement through the plaza.

The provocations here, hence, create an easier, clearer circulations for visitors and also allows them to look upon every edge and corner of the structure.

FINAL FORM Paper Model on Site Contours

The central protruding part of the structure depics the strength and stiffness of Haryana and its people. Haryana is a strong state, which has given India many jewels in art, science and sports.

The structure here makes a statement that there is no stopping Haryana now.

With it's central gallery pointing towards the sky, it announces to the onlookers, that Haryana has been looking up for the sky and beyond, connecting itself with the rest of the world and there is no limit for it.

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Ground Floor Plan

F i r s t (above) & S e c o n d (below) F l o o r P l a n

Plan and Legends

S e c t i o n AA' (above) & S e c t i o n CC'

Plan and Legends

For details see working drawing section

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Extended Balconies for Kala Kendra classes in open

Artificial Water Body

Ground Floor as Contoured Bazzar

Parapet Wall

Cantilevered Art galleries LVL + 126

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ROOF WITH CONCELAED BEAMS

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WASHROOM

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Floor to Ceiling Window

Uplifted Slab for Toilets

Protruding Body from the centre ROOF WITH CONCELAED BEAMS

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Sculpture at entry

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WASHROOM

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8.4 Class 4 - Wood Carving / Bone + Sandalwood Carving 8.5 Class 5 - Jewellery Making 8.6 Class 6 - Teracotta Workshop / Pot Painting 8.7 Class 7 - Dance 8.8 Class 8 - Music 9. Permanent and Temporary galleries 10. Semi Open Workshops 11. Library

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1. Local Vendors 2. Commercial Shops 3. Reception 4. Atrium - Multifunctional Space 5. Stadium 6. Hostels 7. Tribute Museum For Haryana Athletes 8. Kala Academy Classes 8.1 Class 1 - Panja Durries 8.2 Class 2 - Zari Jutti / Mudah Making / Bangles 8.3 Class 3 - Hand Embroidery

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The building also revolves around a free circultion system which allows all to admire the beauty of arts and crafts of Kala academy, and semi open workshops, visually as well as physically.

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It allows people to interact and share the space with thousands of other people creating it a highly democratic space.

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Bazzar in the lower space acts a s a free access area, accessibe to all irrespective of any economic or social differences.

This creates a space that can increase the civic engagement of A people within a space.

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Plan Marked With Democratic

Interventions

Plan Marked With Provocations PROVOCATIONS : NO PHYSICAL BARRIER FOR BIRDS. They feel their own sense of freedom in the bazaar as well as spaces above it

CENTRAL ATRIUM AND BAZAAR around it encourages higher civic engagement

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DIGITAL SCREENS Displaying the ongoing and upcoming functions in the kala kendra

WATER CHANNELS are the major provocative force in the circulation of users

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Water Channels Exposed Vertical Circulation Digital Screens Tilted Walls Sculpture

TILTED WALLS are derived from the movement of user's circulation so as to enhance a person's movement towards a certain path or space.

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LANDSCAPE AROUND THE BUILT

PROVOCATIONS as digital screens and water channels

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RAMPS AND STAIRS ARE ACCESSIBLE TO ALL allowing all kinds of people to visit galleries and kala academy classes MULTIPURPOSE CENTRAL URBAN PLAZA ENTRANCE - EASILY AND FREELY ACCESSIBLE TO ALL KINDS OF PEOPLE

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RAMPS AND STAIRS ARE EXPOSED To provoke more user circulation towards kala kendra classes and art galleries

SCULPTURE here creates an interest and curiosity for the passers by (pedestrian+vehicular).

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Rendered

Views

ENTERANCE GATE Fig. View from Enterance gate of the Kala Kendra. The tilted walls act as a welcoming 'delegate' allowing more footfall to happen in the bazzar area. Such TIlted walls are nothing, but provocative energies in the design

CENTRAL ATRIUM Fig. View from Central Pit that recharges the ground water for the neighbouring region. It also becomes an ecological intervention in the structure by cooling the surroundings with the help of evaporation and condensation

ONE OF THE SITE CORNERS Fig. View from endmost corner of the site showing the provocative angles that depict the mountainous terrain it is built upon.

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TAT TVAM ASI.

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A COLLABORATIVE HYBRID HIGH RISE STRUCTURE Typology Site Location Site Area Semester Studio Partners

Mixed - Use Building Sector 54 Metro Station, Gurugram, Haryana ( India) 2.5 Acres Semester 6 Architectural Design Prakhar Rastogi

U B B L U T U R E

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ACCELERATE THE CITY 2

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F I N A L I S

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Project

Narrative

Program

Narrative

FORM AS

2 edge connected T E S S E R A C T S Upper and Lower Tesseracts differ in size

MODULE | TESSERACT

SEARCHING GURUGRAM Sprouted through thick and thin, I am a body, who caused no sin.

But still cursed by earthling, Who never stop searching, For a life with meaning.

I was made with no plan, And no heart of itself, But mind was kind, To provide man, with all the grind.

Image as I am, more than personage, Gazing upon the earthlings, Who live like renegade, For providing my cells, With an instrument, To be collaborative And intimate.

That instrument, beyond the conscious, Is the fourth way of spiritualness, Fourth way of one man-ness, And fourth way of motion-ness.

SITE AS

H E A R T O F G U R U G R A M

Dear you, I give this instrument, Play with it, In our spaces And grandstand among other cells, Portraying the real essence, Present within ourselves, Temporally.

COLLABORATIVE-NESS The planning and development of Gurgaon has in a way affected the inner energies of its residents.

The people of Gurgaon are becoming not just a part of this privatized community, but they have instead lost the spiritual connection with inner consciousness and outer reality.

isometric tesseract | weekday Smaller central collaborative space

Our Project revolves around the central idea of collaborative cloud which forms the nucleus of collective liveliness and tries to create realizations related to the thought that “You are what you seek for (looking towards self-development) and people around you are a part of the universe you revolve with. (Power of unity)”

the fourth way of consciousness This is achieved in our project by the divulgence of collaborative spaces in the built environment that keep on changing with respect to time allowing them to amalgamate with people from other spaces.

When the structure would revolve around this central core of collaborative hub, people would engage themselves more to these static stations enhancing themselves with outer reality. This temporality, hence, is the basis of the fourth way (higher consciousness) of looking towards spaces.

temporal nature of consciousness

isometric tesseract | weekend Larger central collaborative space

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Temporality

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Extended

Collaborativeness

Cores

Programme Distribution TUCKMAN MODEL 4 STAGES OF COLLABORATION

b u i l d i n g relationships; encouraging the purpose and expectations; Orientation stage of being collaborative

Expected to push out the boundaries; introduction to core thought of collaborativeness; Further after this stage, [people may divide or may stay together on the basis of their respective conjectures.

FORMING

STORMING

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But either way, no matter they stay introvert, extrovert or ambivert, they remain susceptible to the idea of collaborativeness, encouraging them to bring more people together and encourage them in their work and thus increase their efficiency and creativity.

Once the users pass the above stages, they are expected to execute and achieve high level of COHENSIVENESS leading to a better living environment for one and all

NORMING

U P P E R

40X40X40 M

Micro - Housing

Capsule Housing

Common Amenities

HOTEL ACCOMODATION HOTEL COMMON SERVICES

SEMI - PUBLIC SPACES • CO WORKING OFFICES • ART WORKSHOPS • CLOSER ART GALLERIES PUBLIC SPACES • OPEN ART GALLERIES • OPEN PUBLIC GARDENS

COLLABORATIVE FLOOR SLAB

UPPER TESSERACT

LOWER TESSERACT 50X50X50 M

Ecotel

Hotel and restaurants

In stage A.01 we can see hotel slabs moving up and the co working offices and art and craft spaces coming out to provide an extensive collaborative cloud.

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C

Stagnation stage

Stagnation stage

In stage B, we can see the 8 slabs converting itself into 4 slabs to increase the scale of the space which changes the sense of space from co working to art and craft gallery.

In stage C the slabs go apart creating a central space with higher ceiling height.

Uncoax - Co Working Space Synesthetia - Art Galleries

Collaborative Space

SCHOOL WITH NO WALLS CLOSED ART GALLERIES OPEN ART GALLERIES ART WORKSHOPS RETAIL SHOPS FOOD COURTS AUDITORIUM/OPEN THEATRE LOCAL VENDORS

Bazaar - Retail Shops + Food Vendors Synesthetia - Art Galleries

D

UPPER TESSERACT

DEMOCRATIC LOWERMOST SLAB LOWER TESSERACT

The stagnation stage A is the stage during a weekday. The lowermost 4 slabs have bazaar and art and craft. The floor above it is the slab for collaborative cloud.

LOWER TESSERACT

E

Stagnation stage

Stagnation stage

In the final stagnation stage D&E, we can see the slabs going again inside and slabs of hotel common spaces coming down to take part in the collaborative hub.

The art and craft slabs here become collaborative spaces.

Art Galleries and Spaces

Lowermost Slab

Intermediate stage

SYNESTHETIA AND RETAIL BAZAAR • • • • • • • •

Democratic

Stagnation stage

TESSERACT

Collaborative Space Club House And Other

A.1

LOWER • •

UPPER TESSERACT

A

Bazzar (Art and Craft +Retail + Food court

TESSERACT

PERFORMING

Co - Working Areas

3

Residential

2

Hotel

1

ENTRY POINTS A|

Building Site Plan

Entry through golf course road for pedestrians as well as vehicles

18

TEMPORALITY / W E E K E N D B

SECTION / W E E K E N D B

TEMPORALITY / W E E K E N D F

SECTION / W E E K E N D F

B|

Entry only for pedestrians through metro station's escalator.

C|

Entry only for pedestrians through metro station's escalator.

D|

Entry only for pedestrians through metro station's escalator.

Escalators at B, C, and D ends at metro station, from where two escalators takes the user to the democratic slab

VIEWING DECK

RAPID METRO D

A B

OPEN GREEN CONNECTED WITH DEMOCRATIC SLAB

C

W E B S I T E TAT TVAM ASI PROJECT TRIANGULAR SITE TEMPORAL ARCHITECTURE TAT TVAM ASI

SCAN QR CODE

(www.tattvamasihr.com)

(INCLUDES MEDICLINIC AND RETAIL)

BYPRAKHAR RASTOGI | VAIBHAV GUPTA

UPPER TESSERACT COMMUNITAS

(INCLUDES RESIDENTIAL AREA)

LOWER TESSERACT

(INCLUDES BAZZ[AR]T, SYNESTHETIA- ART AND CRAFT CENTRE, [UN]COAX - CO WORKING SPACE AND HOTEL)

HELIPAD

PROJECT WEBSITE

https://www.tattvamasihr.com/

SCAN QR CODE

04

KHOJ [PASSING BY].

A

COMMUNITY

Typlogy Site Location Site Area Semester Studio Partners

OF

ARCHITECTURE

Working Space Bangalore , Karnataka ( India ) 3 acres Semester 6 Competition Entry (The Master Studio by Archmello) Adit Gupta, Prakhar Rastogi

AND

DESIGN

A R C H M E L L O

THE MASTER STUDIO 2

0

2

H O N O U R A B L E

0

M E N T I O N

7.09 % 68.2 %

Project Narrative

Concretization Vegetation

78.7 % 6.86 %

Concretization Vegetation

Program Narrative

STUDENTS

STUDENTS

MUMBAI 6850 architects

No. of Architects per city

PROFESSIONALS

approximately 90, 796 architects in India

PROFESSIONALS

1973

Bangalore Map

4

REFLECT

3

IMPLICIT

2

EXPLICIT

1

SET

FADING GREENERY

Results of constant spatial and population growth

6145 architects

PUNE 4834 architects

CHENNAI 4300 architects

3767 architects

SITE

I N T R O D U C T I O N

COMMUNITY OF ARCHITECTS AND PROFESSIONALS Architecture is not only a form of visual art but also a form of spiritual, emotional, illustrative, and theoretical art. And as said

by Van Gogh, The best way to learn any art form is by observing and practicing.

Designing in real world is more about understanding the client’s needs & vision, considering the budget, social trends, giving priorities to the context, about working with different agencies & so on.

THE

Finding ways to better integrate both education and practice is of paramount importance because doing so will better equip students and emerging professionals to step into practice with confidence and set them up for success.

Keeping in mind the above-mentioned thoughts, the built form was divided into 4 stages to effectively engage learners emotionally, physically, and intellectually with the professionals, leveraging both conscious and unconscious attainment of knowledge.

The project hence incites architecture and design students to step outside their own worlds and teach them to think more about the real world implications of their work.

They ensure that explicit knowledge is integrated into implicit knowledge in a way that makes it useful and persistent.

SET | STAGE 1

STAGES TO EFFECTIVE LEARNING

Stage where students encourage and inspire themselves as well as observe and document thoughts, and works of other accomplished professionals/fellow mates to set a goal for focused learning.

Bangalore Map

CITY CENTRIC STUDY

NEW DELHI

BANGALORE

2017

SEEK (EXPLICIT LEARNING) STAGE 2

|

This stage is structured around practices that involve active listening, seeking clarification, research, and critical thinking which happens by accessing the academic and scholarly materials and by listening, which connects us to a specific subject at a critical level.

APPLY (IMPLICIT LEARNING) | STAGE 3

Implicit knowledge is the practical application of explicit knowledge. It is structured around the practices that include action-learning, project-based learning.

It is a stage of rehearsing yourself by applying explicit knowledge in the everyday world.

REFLECT | STAGE 4

In the final stage, students are encouraged to gain constructive criticism from professional architects and work with the feedback received. It allows them to cultivate humility and to overcome their cognitive biases.

21

Module Elevation

Reshaping the Modules

TETE-A-TETE

A

TETE-A-TETE

ABOUT THE MODULE

“Tête-à-tête” literally means “head-to-head” in French, and the seating creation allows just that. Its S-shaped, serpentine form encourages two people to face each other and engage in conversation, yet still be visually tied to their surroundings.

The module is divided in such a way that the professionals and students can have their own personal spaces, but still stay tied/ connected through an inclined semi private area (the reflect stage) to encourage a collaborative and higher practical sharing of knowledge.

The thought behind creation of such a furniture that can engage people in intimate conversations, led to the development of a module that works on a similar phenomenon.

The students also get easy access to the informal areas of implicit spaces like offices, through this inclined semi-private area i.e THE REFLECT STAGE.

| as per the need of the spaces and its position in the built form

MODULE'S FORM GENESIS

M7 T

ICI

L MP

I

6600 mm 6600 mm

LE

6600 mm 6600 mm

CIT

M6

9900 mm

G.L.

I

PL

EX

M5

6600 mm

RE F

Adding a semi private, collaborative space between the two to allow easier and increased communication

6600 mm

6600 mm

CT

B.3

M8

6600 mm

6600 mm

M1

IT

MODULE 1

M2

Explicit | Library (Literature, Design Philosophy) Implicit | Studio Small Firm

MODULE 2

Explicit | Library (Art, History, Planning,Urban) Implicit | Studio Small Firm

M3

MODULE 3

M4

Explicit | Workspace (60 students) Implicit | Studio Medium Firm

Explicit Implicit

MODULE 4 | Library (Digital Library) | Studio Small Firm

D.2

Modules On 6th Floor And 7th Floor

LIC

P IM

C.2

Proximity of two implicit space to every explicit space for better communication between architects and students.

B.2 Creating

a separation between implict and explict spaces

M4

IT

LIC

P EX

M3

IT

LIC

P IM

6600 mm 6600 mm

B.1 Dividing

the module into two halves of implicit and explicit spaces

T

ICI

L XP

E

6600 6600 6600 6600

M1

mm mm mm mm

M2

6600 mm 9900 mm

D.1

Modules On 4Th Floor And 5th Floor 1st and 2nd Floor SET STAGE

Bangalore thrives of spaces . The upliftment gives a clear space for encouraging pleasent

(Dividing - Creating - Adding)

C

M6

Explicit | Research Lab Implicit | Studio Medium Firm

Explicit Implicit

MODULE 6 | Library (Construction Section; Material lab) | Construction Workshop | Digital Design Lab

open green public of built form by 10m a public garden below and cool afternoons

VERTICAL AND HORIZONTAL STACKING OF STAGES (As Per The Site Requirement And Proximity Of Spaces in built form)

M7

MODULE 7

M8

Explicit | Seminar Hall Implicit | Studios Medium Firm

Explicit Implicit

MODULE 8 | Workspace for Freelancers | Studios Medium Firm

| to augment communication and intimacy between professional and students

3rd Floor REFLECT STAGE

G. Floor PUBLIC

B + C

C.1

MODULE FORMATION AS PER THE NARRATIVE

MODULE 5

Furniture used in Reflect Stage

6600 mm

B

M5

D

STACKING OF SPACES

(Modules Reshaped As Per The Needs Of The Space Assigned And The Placement On Site Grid)

Planks And Blocks Seating

Blocks can be kept on each other to increase the height, as per the user requirement

Net Hammocks

Acts as a relaxation space where professionals and students can communicate and create a friendly association with each other

Rotatable white board panels Allowing professionals to easily review the Students and their work.

Expandable Discussion pods with inner white board surface Creates a semi-private space for open as well as private discussion

Co-Benches

Centrally aligned benches to provoke users to invogorate higher intimacy

Voided Wall Panels

Provides a Cozy and Personal space for the users and also as Discussion area for students and architects

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OPEN DISCUSSION AREA / HANGOUT SPACE

UP

KITCHEN

1 3

+450 0 +900

GARDEN + VIEWING DECK

S HO P

DN

1 2

I

OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN

(ACCESSIBLE ON BOTH SIDES)

S H OP

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1 1

AUDITORIUM_01

ELEVATOR E ELEVATOR D UP

DOWN

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ADJOINING ROAD

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AUDITORIUM_02

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SCALE BAR 1:1000

SHO P 8

FIRST FLOOR PLAN

N

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6

E VIC SER +11400

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UP

DOWN

N

SH O P

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5

C O M M U N I C A T I O N

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SER

4

SCALE BAR 1:1000

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AUDITORIUM_01

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F5

AUDITORIUM_02

B O A R D

1 0

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DN

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3

L5

DOWN

Y U A

C O M M U N I C A T I O N

F O Y E R

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ROA

+900

UP

S H O P

+450 0

UP

DN

DOWN

25

Retractable Roof

(ACCESSIBLE ON BOTH SIDES)

KITCHEN

15

L17

PROTECTED DISPLAY AREA UP

UP

5

3

Digital Display Area, Art and Sheet Display Area

L4

UP

0

T

AD

ELEVATOR C

C

B O A R D

L2

AD

ACOUSTIC SLIDING FOLDING PARTITION WALL

+450 0 +900

K RO

UP

2

PAR

UP

S H O P UP

UP

ELEVATOR C

UP

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MODEL DISPLAY AREA

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+900

1

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(WALK-TROUGHS, ANIMATIONS, VR)

S H O P

UP

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STORE ROOM

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ACOUSTIC SLIDING FOLDING PARTITION WALL

+450 0

MODEL DISPLAY AREA

UP

DOWN

YAT

S P A C E

ABOUT THE BUILDING DISPLAY AREA

OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN

DOWN

B O A R D

ACOUSTIC SLIDING FOLDING PARTITION WALL

(WALK-TROUGHS, ANIMATIONS, VR)

F4

C O M M U N I C A T I O N

UP

UP

L RO

B O A R D

D

B O A R D

MAN

C O M M U N I C A T I O N

C O M M U N I C A T I O N

DN

DOWN

SCULPTURE

PITA

UP

UP

F3

DN

DOWN

B O A R D

ABOUT THE BUILDING DISPLAY AREA

OPEN WAITING LOUNGE |DISCUSSION ZONE GARDEN

UP

OPEN DISCUSSION AREA / HANGOUT SPACE

ELEVATOR C

(ACCESSIBLE ON BOTH SIDES)

A

C O M M U N I C A T I O N

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OPEN DISCUSSION AREA / HANGOUT SPACE

F1

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HANGING SHEETS DISPLAY

ELEVATOR A

ELEVATOR B

CAFETERIA D

P

DN

C O M M U N I C A T I O N

ADJACENT SITE

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ADJOINING ROAD

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ELEVATOR D

UP

D

ADJOINING ROAD

Bumps

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(ACCESSIBLE ON BOTH SIDES)

AUDITORIUM_01

UP

E

HOS

New Innovation Display Area

AUDITORIUM_02

DOWN

P

S P A C E

ADJACENT SITE DN

O

GARDEN + VIEWING DECK

CAFETERIA

F O Y E R

ADJOINING ROAD

DN

Water Channel

OAD

KITCHEN

DOWN

Robotic 3D Prinitng Arms

DOWN

UP

DN

UP

ENA

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VEHICULAR

+450

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RD GUA M ROO

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22

AD E RO PHIL OM

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Isometric 3D

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(the roof provides workshop with gantries and open area that can be used to experiment multiple architectural technologies )

I s o m e t r i c E x p l o d e d 3D (ON 5 m X 5 m GRID)

4 Informal Office Working Area

23

Skin Ideology ABSTRACTION | DISTORTION | FRAGMANTATION | ABSENCE OF GRAVITY | PLURALITY | A LEARNING TOOL Bangalore's architecture today functions around the modernist ideas of creating free-standing and mono-functional buildings. Amid those structures, this facade creates a plurality and convergence of shapes, lines, textures and colours that recreate, in 3D space, a dynamic continuum.

The facade acts as a living cloak that distinguishes itself as an unforgettable visual contrast, against a typically urban backdrop of concrete, steel and glass.

The facade also acts as a learning tool with the juxtaposition of different materials over it. It also expresses the close relation of architecture with the applied art and the need for it in the context of modernist structures in the city with restricted expression of feeling and life.

The facade was developed from the diagram made on site (shown below), description of which can be read in the 'Site Conceptualization' Section.

Site Conceptualisation The Malevich brought with himself a Russian avant-garde art movement called 'Suprematism' which unveiled to the world that with a simple set of colors and geometries one can express the pure feeling of abstraction and weightlessness. He used to believe that art was meant to evoke pure feelings and no longer cares to serve the state and religion.

This composition is being characterized by four principles of Malevich's work i.e. abstraction, distortion, fragmentation, and the absence of gravity. It breaks away from the masses around the site and creates a weightless fragmented outer geometry which appears to float against the gravity. It allows us to be free from the burden of the architectonics.

Fig. Diagram capturing the essence and need of the site as per the existing site context

Isometric View

24

Rendered Views and Sectiona l Perspective

100 ft Wide Road

PROFESSIONALS

F

R

O

N

T

Pedestrian Entrance Water Channels L

T

STUDENTS

Philomena Hospital Road

H

Garden

I

A

I M P L I C I T

B

(the roof provides workshop with gantries and open area that can be used to experiment multiple architectural technologies )

R O O F

A S

R E S E A R C H

Guard Room

SITE PLAN

H U B

0

10

20

30

A

C

Site Driveway

K Basement Entrance

50 m

(initial stage)

T

(all red marked spaces)

R E F L E C T

E X P L I C I T

&

(Explicit and Implicit spaces are interlocked with each other as discussed in sheet 5)

S T R A T E G I E S

PUBLIC

S

E

Feedback to the student's work can be given through respective QR codes on each display board.

(accessible to all)

2

C O O L I N G

A'

Entrance

(venturi effect, Courtyard effect, Green buffer on the side exposed to prevailing wind directions, Facade reducies the heat transfer by increasing surface area, many others)

P A S S I V E

3

T

R

1

F

Built form

G

E

Pedestrian Entrance

SECTION AA' BASEMENT Automated Multilevel Parking

05

DOAB

A PROTOTYPICAL Typlogy Site Location Site Area Semester Studio Partners

HOUSING

High Density Residential Indore, Madhya Pradesh ( India ) 6 acres Semester 7 Architecture Design Anahat Chandra

FUTURE OF

INDORE

26

Project Narrative

Program Narrative

URBAN SOCIAL ISOLATION AND FAST PACED LIFESTYLE The increasing urban heterogeneity, is leading us down a path of isolated social living where every one lives in their own bubble, increasing the social distance and apathy among residents.

RESPECT

PROTECT

PROVIDE

A M O N G H I G AND L I G E X I S T E N C E OF P E O P L E

GIVING TENURE RIGHTS H U M A N L I V E S AND DIGNITY PRIVACY PROTECTION

H A B I T A B L E LIVING SPACE A L L N E E D S AVALIBALE TO ALL A C C E S S T O A L L SERVICES

Respect implies noninterference and respecting equal rights of all citizens.

Protect implies ensuring protection from violation of human rights.

Provide implies creating direct provision of service if the right(s) concerned cannot be realised

• Collaborative and intimate spaces; • A p p r e c i a t i n g Diversity of People (Culturally, economically); • C r e a t i n g Connections between LIG and HIG

• Giving Tenant RIghts; • Income generating Area; • Protect their rights and ensure equal provision of services for all; • Protection of privacy

• Provide basic services to all; • Provide Sanitation services to all • Provide from HIG to LIG; Adequate Housing with habitabel and affordable units

Our cities foster a sense of ‘loneliness’; engrossed in a fast paced lifestyle, where people rarely stop to interact and create meaningful relationships with each other. This phenomenon has adversely affected their well-being and mental health.

LIG ECONOMIC GROUP

MILLENIALS

SITE AS

C I T Y

In light of the upcoming ‘smart city’ development in the heart of the city, a large number of people have been displaced forcefully and been made to shift to the periphery of the city.

C E N T R E

KHAN RIVER

Working population between the age groups of 24-39 years

This has led to the rapid expansion of slum settlements in the city of Indore where nearly 1` in 3 people belong to a slum. The promises of compensation by the government to provide affordable and habitable living conditions remain unfulfilled.

SMART CITY : SLUM EXPANSION AND SUPPRESSION

1-2 senior citizens, 2-3 working adults, and 2 young children in a way that the family stays intact. Their income levels range from about Rs. 350 – Rs. 1,800 a month

STUDENTS

INDORE'S MILL AREA

27

P r o g r a m D i s t r i b u t i o n (site)

Economic and Social Model Participatory Slum Upgrading

RE

Essential Components

E

C

Facilities: Daycare Centre, Community Centre, Nearest Schools, playgrounds

T

O V

ID

IP EM | S

PR

SP

Tenure Regularisation: Registration, Demarcation, Documentation, Security

UBLIC

E | PRIVATE

Physical Improvement: Water Supply, Sanitation, Streets, Public Spaces, Power lines, Drainage

Development Programs: Social, economic, health, cultural, educational

PROTEC

T

SOCIAL MODEL

Housing Improvement: Construction, Hosuing expansion, Providing Loans, Technical Assistance

| P UB LIC

Community Participation

Through

Through

MIXED INCOME HOUSING

The program is distributed as such to create efficient flow of public as well as residents through the site by following the heirarchy of spaces from public to semiprivate and from semiprivate to private.

PUBLIC SPACES AS CONDUITS

LOW INCOME GROUP

MILLENIALS

LIG and Mellinials dwelling units are alternatively placed over one another seperated by respect functions like courtyard, and other pockets

P r o g r a m D i s t r i b u t i o n (section)

A

respect functions like courtyard, and other pockets which act as semi private spaces

B

C

RESPECT PROTECT PROVIDE LIG DWELLING MIL. DWELLING

ECONOMIC MODEL

Affordable Housing (30% of Salary)

INCOME SPENT

INCOME GENERATION

INCOME GIVEN

Tenant/Seasonal Migrants Rent [Under the Supervision of Society Management]

INCOME SPENT

INCOME GENERATION

INCOME GIVEN

Basic Amenities purchase

Interdependent

Shops + Housing + Other Needs

Affordable Housing + Luxury Housing

Providing Goods to Millenials + Job under them

Providing Loans + Giving Donations [educational, medical, vehicle, housing, other necessities]

28

Plans

Form

Narrative

VEHICULAR ENTERANCE

Vocational Center Goodwill Center Custom | 1 BHK (5) Module_A (18) Module_B (4) Module_C (8) Module_D (8)

Communitas Custom | 1 & 2 BHK (7) Module_A (18) Module_B (4) Module_C (4) Module_D (10)

FIRST FLOOR PLAN

SECOND FLOOR PLAN

ENTE

RAN

CE

The form acts as the confluence and intertwining of the two social groups – the Millenials and the LIG. Imagining them as two parts of a whole, the form attempts to bridge the social divide, by providing an unified structure where the individual habitats are threaded together through the form.

IC / PEDE S

TRIA

N

Since our site is in an environmentally sensitive area, we imagine the form to be a part of the landscape – an entity rising from it rather than imposed on it. This will keep the form and its inhabitants invested in the community spaces around which the form meanders.

Youth Center Custom | 1 BHK (1) Module_A (5) Module_B (4) Module_C (9) Module_D (1)

THIRD FLOOR PLAN

FOURTH FLOOR PLAN

PUBL

CENTRAL SPINE For only pedestrians

Custom | 1 & 2 BHK (3) Module_A (5) Module_B (4) Module_C (7) Module_D (11)

About the Material

VEHICULAR EXIT

GROUND FLOOR PLAN

Drop off Points/ Cores 1. Commercial Shops (bazzar) 2. Cafe 3. Library 4. Reception 5. Courtyards 6. Water Body (Sunken Space) 7. Services 8. Khan River 9. Pockets as Interactive spaces 10. Basement Entry/exit 11. Library

12. Vocational Center (1st) 13. Goodwill Center (1st) 14. Communitas - Co living for Millenials (2nd) 15. Youth Center (4th)

Community Participation Leading To slum upgradation

POCKETS

Legends

The essence of the project is kept quintessentially Indian in flavour. This has been done through the provision of courtlike transitional space, inclusion of water bodies as ghats, and water channels.

This thought is reinforced through our material palette consisting of 'Pigmented and textured concrete', 'Exposed concrete', 'Timber', 'Glass'.

Green enhances the elevation Interaction through balconies

Use of Mandala and other Indian arts

Pigmented and textured concrete

The form moves through the site, as if sculpted by the flowing effortless river and wind, creating courtyards as a resultant feature, anchoring the community. The constructed environment and free-flowing water-two opposites unlikely to mix, will entangle with the creation of beautiful dialogue between the two and hence announcing the landscape.

29

Sections

1.

1 2

aa'

2.

bb'

Site plan Key plan

VIEW 1 From Courtyard Looking towards 'pocket' spaces VIEW 2 From Courtyard Looking towards 'pocket' spaces

CENTRAL SPINE

BLOCK 1

BLOCK 2

CENTRAL SPINE

BLOCK 1

4500

3350

3350

3350

6700

3350

6700

BLOCK 2

Section bb'

Section aa'

| Architectural Student and Designer

V A I B H A V

G U P T A

0 9 / 1 2 / 1 9 9 8, JAIPUR, RAJ. vaibhavg094@gmail.com + 9 1 7 0 1 4 8 6 7 5 9 5 80/421, Patel Marg, Mansarovar, jaipur Rajasthan, India 302020

T

H

A

N

K

Y

O

U

Link to Elaborated Project - https://issuu.com/ vaibhavg094/docs/final_portfolio_vaibhav_gupta